Catalogue of the Gallery of Art of the NY Historical Society by Anonymous

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Title: Catalogue of the Gallery of Art of The New York Historical Society

Author: anonymous

Release Date: May 24, 2014 [EBook #45744]

Language: English

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CATALOGUE

OF THE

GALLERY OF ART

OF

THE NEW YORK HISTORICAL SOCIETY

NEW YORK

PRINTED FOR THE SOCIETY

1915

OFFICERS OF THE SOCIETY

PRESIDENT,

JOHN ABEEL WEEKES.

FIRST VICE-PRESIDENT,

WILLIAM MILLIGAN SLOANE.

SECOND VICE-PRESIDENT,

WALTER LISPENARD SUYDAM.

THIRD VICE-PRESIDENT,

GERARD BEEKMAN.

FOURTH VICE-PRESIDENT,
FRANCIS ROBERT SCHELL.

FOREIGN CORRESPONDING SECRETARY,

ARCHER MILTON HUNTINGTON.

DOMESTIC CORRESPONDING SECRETARY,

JAMES BENEDICT.

RECORDING SECRETARY,

FANCHER NICOLL.

TREASURER,

FREDERIC DELANO WEEKES.

LIBRARIAN,

ROBERT HENDRE KELBY.

EXECUTIVE COMMITTEE

FIRST CLASS—FOR ONE YEAR, ENDING 1916.

ACOSTA NICHOLS,

STANLEY W. DEXTER,

FREDERICK TREVOR HILL.

SECOND CLASS—FOR TWO YEARS, ENDING 1917.

FREDERIC DELANO WEEKES,

PAUL R. TOWNE,

R. HORACE GALLATIN.

THIRD CLASS—FOR THREE YEARS, ENDING 1918.

RICHARD HENRY GREENE,

JAMES BENEDICT,

ARCHER M. HUNTINGTON.

FOURTH CLASS—FOR FOUR YEARS, ENDING 1919.

BENJAMIN W. B. BROWN,
J. ARCHIBALD MURRAY.

JAMES BENEDICT, Chairman.

ROBERT H. KELBY, Secretary.

[The President, Vice-Presidents, Recording Secretary, Treasurer, and Librarian are members of the Executive

Committee.]

[Pg v]

[Pg vi]

PREFACE

This catalogue describes the paintings in the Gallery of Art of The New York Historical Society, with two hundred and
eighty-six miniatures, comprising the Marié Collection and seventy-six objects of Sculpture.
The New York Gallery of Fine Arts, presented to the Society in 1858, with paintings donated to the Society at various
times, are numbered 1 to 488 inclusive. Any notice of this collection would be deficient which should fail to
commemorate the name of Luman Reed, Patron of American Art. In this connection the Society was chiefly indebted to
the liberality and cordial coöperation of one of their most valued members, who was himself the chief promoter of the
original design of the New York Gallery of Fine Arts, Mr. Jonathan Sturges.
The Bryan Collection, presented to the Society in 1867 by the late Thomas J. Bryan, numbers three hundred and
eighty-one paintings and are designated by the letter B. before each number.
The Durr Collection, presented to the Society in 1882 by the executors of the late Louis Durr, numbers, with
subsequent additions, one hundred and eighty-one paintings, which are designated by the letter D. before each number.
Short biographical sketches of deceased artists represented in the above collections have been added, together with
indexes to Artists, portraits and donors.
The Marié Collection of miniatures is arranged alphabetically by subjects and is not included in the index of portraits.

CONTENTS

PAGES

Officers of the Society
v

Executive Committee
vi

Preface
vii

List of Illustrations
xi

Sketch of Luman Reed
2

New York Gallery of Fine Arts and Reed Collection with Paintings Donated to the Gallery of the Society
3-53

Sketch of Thomas J. Bryan
56

Bryan Collection of Paintings
57-100

Sketch of Louis Durr
102

Durr Collection of Paintings
103-118

Peter Marié Collection of Miniatures
121-138

Sculpture
141-148

Biographical Sketches of Artists
151-205

Index of Portraits
209-213

Index of Sculpture
214

Index of Artists
215-220

Index of Donors
221-223

Presidents of the Society
224

ILLUSTRATIONS

FACING PAGE

Portrait of Asher B. Durand, by Himself
42

Portrait of Thomas J. Bryan, by W. O. Stone
56

A Virgin and Child, with Four Saints, by Guido of Sienna
58

Knights at a Tournament, by Giotto di Bondone
60

The Birth of St. John the Baptist, by Uccello
62

[Pg vii]

[Pg viii]

[Pg ix]

[Pg x]
[Pg xi]

Adoration of the Infant Christ, by Macrino d'Alba
64

The Crucifixion, by Andrea Mantegna
66

Portrait of a Jansenist, by Phillippe De Champagne
68

The Crucifixion, by Jan Van Eyck
72

Portrait, by Paul Rembrandt
74

Portrait of a Knight of the Order of the Golden Fleece, by Rubens
76

William, Prince of Orange (William III), by Gerard Terburg
78

St. George and the Dragon, by Albrecht Dürer
80

Portraits of Two Ladies, by Largillière
86

Portrait of John Singleton Copley, by Himself
90

Portrait of Charles Wilson Peale, by Benjamin West
92

Bust of Louis Durr, by Baerer
102

The Three Marys, by Luini
116

THE NEW YORK GALLERY OF FINE ARTS

AND

REED COLLECTION

WITH PAINTINGS DONATED TO THE GALLERY OF THE SOCIETY

LUMAN REED

Luman Reed was born in Green River, Columbia County, N. Y., in 1785, and died in 1836. He removed when a boy
to Coxsackie, N. Y., where he was educated in an ordinary school at the expense of an uncle. Later he was employed
in a country store and subsequently became the partner and brother-in-law of his employer.
He made frequent trips to New York City on a sloop called the "Shakespeare," belonging to the firm, selling produce of
the farms around Coxsackie and purchasing goods in New York for his country store. Later he became a merchant in
New York and between the years 1815 and 1832 he gained a fortune. It was then that he began to gratify other
instincts and art attracted his attention. He became the patron of American Art and sought the acquaintance of artists,
interesting himself in their labors, giving them many commissions for work.
Mr. Reed lived at 13 Greenwich Street, this city, the third story of which building he used as a picture gallery, to which
visitors were admitted one day each week. This room was also a meeting place for the artists and literary men of the
time. The paintings after Mr. Reed's death were purchased by his friends and subsequently constituted the New York
Gallery of Fine Arts which, after an uncertain existence of about twelve years, was forced to close its affairs. Eighty of
these paintings, presented in 1858, are now in the possession of this Society and known as the New York Gallery of
Fine Arts.
The death of Mr. Reed was greatly lamented by the artists of his time and his name has come down to this generation as
the Patron of American Art.

CATALOGUE

OF THE

GALLERY OF ART

NO.
SUBJECTS OF PAINTINGS.
ARTISTS.

1-5. The Course of Empire. Thomas Cole.

A series of five pictures, illustrating a nation's rise, progress, greatness, decline, and fall, and the
consequent changes in the same landscape.
Note.—The isolated rock, crowning a precipitous hill, in the distance, identifies the scenes in each of the
series; but the observer's position varies in the several pictures.

[Pg 1]

[Pg 2]

[Pg 3]

"First freedom, and then glory, when that fails,
Wealth, vice, corruption."

(Reed Collection.)
(New York Gallery of Fine Arts.)

[FIRST OF THE SERIES.]

1. The "Savage State," or "Commencement of Empire." (61½X39.)

The sun is rising from the sea, over a wild scene of rocks, forests, and mountains, dissipating the clouds
and darkness of night. Man, attired in skins, is seen engaged in the wild dance and the chase—the
characteristic occupations of the savage life. In the picture, we have the first rudiments of society. Men
have banded together for mutual aid. The useful arts have commenced in the construction of the canoe, the
weapon, and the hut; and we may imagine the germs of two of the fine arts, music and poetry, in the
singing usually accompanying the dance of the savage. The empire is asserted, to a limited extent, over
sea, land, and the animal kingdom. It is the season of Spring—the morning of the nation's existence.

[SECOND OF THE SERIES.]

2. "The Arcadian," or "Pastoral State." (62½X39.)

Ages have passed; a change has been wrought in the scene—man has subjugated "the untracked and
rude." We now see the shepherd and his flocks; the ploughman upturning the soil, and the wafting sail; by
the shore a village, and on the hill the ascending smoke of sacrifice. In this picture we have agriculture,
commerce, and religion. In the aged man describing the mathematical figure, the rude attempt of the boy in
drawing; in the female figure with the distaff, the vessel on the stocks; in the primitive temple, and the
dance of the peasants to the music of the pipe, we have evidence of the advance made in science, in the
useful and the fine arts.
It is early Summer, and the sun has ascended midway to the meridian.

[THIRD OF THE SERIES.]

3. "The Consummation of Empire." (75X50½.)

The rude village has become a magnificent city. From the bay—now a capacious harbor, with phari at the
entrance, and thronged with war-galleys, and barks with silken sails—ascend piles of architecture,
temples, domes, and colonnades. The massive bridge, the streets and squares, lined with palaces and
adorned with statuary, clustered columns, and sparkling fountains, are crowded with gorgeous pageants
and triumphal processions. It is a day of triumph—man has conquered man—nations have been
subjugated. By wealth and power, knowledge, art, and taste, man has achieved the summit of human
grandeur.
The sun is near the meridian.

[FOURTH OF THE SERIES.]

4. "Destruction." (62½X38½.)

Ages have passed away since the scene of glory. Luxury has enervated, vice has debased, and the
strength of the mighty nation has consumed away. A barbarous enemy sacks the city. The heavens are
darkened by a tempest, and the storm of war rages beneath, amid falling walls and colonnades, and the
flames of temples and palaces.

[FIFTH OF THE SERIES.]

5. "Desolation." (61X39½.)

The moon ascends the twilight sky, near where the sun rose in the first picture. The last rays of the
departed sun illumine a lonely column of the once proud city, on whose capital the heron has built her nest.
The shades of evening steal over shattered and ivy-grown ruins. The steep promontory, with its insulated
rock, still rears against the sky, unmoved, unchanged; but violence and time have crumbled the works of
man, and art is again resolving into elemental nature. The gorgeous pageant has passed; the roar of battle
has ceased; the multitude has sunk in the dust; the empire is extinct.

6. Portrait of John Adams, (1735-1826.) (25X30.) A. B. Durand.

[Pg 4]

From the original by Stuart.
(Reed Collection.)
(New York Gallery of Fine Arts.)

7. Portrait of John Quincy Adams, (1767-1848.) (25X30.) A. B. Durand.

Taken from life, in 1834.
(Reed Collection.)
(New York Gallery of Fine Arts.)

8. Portrait of James Monroe, (1758-1831.) (25X30.) A. B. Durand.

From the original by Stuart.
(Reed Collection.)
(New York Gallery of Fine Arts.)

9. Portrait of Thomas Jefferson, (1743-1826.) (25X30.) A. B. Durand.

From the original by Stuart.
(Reed Collection.)
(New York Gallery of Fine Arts.)

10. Portrait of James Madison, (1751-1836.) (25X30.) A. B. Durand.

From the original, by Stuart, at Bowdoin College, Maine.
(Reed Collection.)
(New York Gallery of Fine Arts.)

11. Portrait of Andrew Jackson, (1767-1845.) (25X30.) A. B. Durand.

Painted from life, in 1835.
(Reed Collection.)
(New York Gallery of Fine Arts.)

12. The Chess-Players—Check Mate. (56X44.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

13. Marine View. (36X25.) Thomas Birch.

(Reed Collection.)
(New York Gallery of Fine Arts.)

14. View from Froster Hill, Gloucestershire, England. (24X18.) Andrew Richardson.

(Reed Collection.)
(New York Gallery of Fine Arts.)

15. The Goblet and Lemon. (27X32.) W. Van Aelst.

(Reed Collection.)
(New York Gallery of Fine Arts.)

16. Falstaff enacting Henry IV. (29X36.) George W. Flagg.

Prince Henry.—Do thou stand for my father, and examine me upon the particulars of my life.
Falstaff.—Shall I? Content:—this chair shall be my state, this dagger my sceptre, and this cushion my
crown.
King Henry IV., Part i., Act ii., Scene 4.
(Reed Collection.)

[Pg 5]

[Pg 6]

(New York Gallery of Fine Arts.)

17. An Allegory—Death and Immortality—Antique. (18½X14½.) Italian School.

(Reed Collection.)
(New York Gallery of Fine Arts.)

18. Madonna and Infant. (16½X22½.) German School.

(Reed Collection.)
(New York Gallery of Fine Arts.)

19. Landscape—Composition—Italian Scenery.(54X37.) Thomas Cole.

"O, Italy! how beautiful thou art!
Yet I could weep, for thou art lying, alas!
Low in the dust, and they who come, admire thee
As we admire the beautiful in death."

Rogers' Italy.
(Reed Collection.)
(New York Gallery of Fine Arts.)

20. Sleeping Female. (19X24.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

21. The Little Savoyard. (18X22.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

22. Rebecca. (16X20.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

23. The Truant Gamblers. (30X24.) William S. Mount.

(Reed Collection.)
(New York Gallery of Fine Arts.)

24. Interior—Dutch Apothecary Shop.(24½X18.) Roelof Pietersz.

(Reed Collection.)
(New York Gallery of Fine Arts.)

25. Pan and Midas. (24X28.) Hubert Goltzius.

(Reed Collection.)
(New York Gallery of Fine Arts.)

26. The Pedlar displaying his Wares. (34X24.) A. B. Durand.

(Reed Collection.)
(New York Gallery of Fine Arts.)

27. The Woodchopper's Boy. (25X30.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

28. Wrath of Peter Stuyvesant on learning the capture, by treachery, of Fort Casimir. (30X24.) A. B. Durand.

[Pg 6]

[Pg 7]

"On receiving these direful tidings, the valiant Peter started from his seat—dashed the pipe he was
smoking against the back of the chimney—thrust a prodigious quid of tobacco into his left cheek—pulled
up his galligaskins, and strode up and down the room, humming, as was customary with him when in a
passion, a hideous northwest ditty."—Knickerbocker's New York, Book vi. chap. 2.
(Reed Collection.)
(New York Gallery of Fine Arts.)

29. Madonna, Infant, and St. Ann. (29X28.) Italian School.

(Reed Collection.)
(New York Gallery of Fine Arts.)

30. The Match-Girl, (London.) (25X30.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

31. Moonlight. (32X24½.) Thomas Cole.

(Reed Collection.)
(New York Gallery of Fine Arts.)

32. Portrait of George Washington, (1732-1799.) (25X30.) A. B. Durand.

From the standard original, by Stuart, in the gallery of the Boston Athenæum.
(Reed Collection.)
(New York Gallery of Fine Arts.)

33. Lady and Parrot. (29X36.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

34. The Nun. (24X30.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

35. Wreath of Flowers, encircling Coat-of-Arms and Miniature of the Duke of Austria, 1658. (33X46.) J. Marrel.

(Reed Collection.)
(New York Gallery of Fine Arts.)

36. Lady Jane Grey preparing for execution. (45X56.) George W. Flagg.

"After uttering these words, she caused herself to be disrobed by her women; and with a steady, serene
countenance submitted herself to the executioner."—Hume, chap. xxxvi.
(Reed Collection.)
(New York Gallery of Fine Arts.)

37. Assumption of the Virgin. (25X19.) Annibale Caracci.

(Reed Collection.)
(New York Gallery of Fine Arts.)

38. Portrait of Martha Washington, (1732-1802.) (22X26.) A. B. Durand.

From the original, by Stuart, in the Boston Athenæum.
(Reed Collection.)
(New York Gallery of Fine Arts.)

39. Portrait of a Young Lady, taken in 1608. (27X33.) Flemish School.

[Pg 8]

(Reed Collection.)
(New York Gallery of Fine Arts.)

40. The Huntsman's Tent—Game and Dogs after a Hunt, (50X64.) John Fyt.

(Reed Collection.)
(New York Gallery of Fine Arts.)

41. Mother Child, and Butterfly. (24X30.) George W. Flagg.

(Reed Collection.)
(New York Gallery of Fine Arts.)

42. Autumn Scene—Conway Peak, White Mountains, N. H. (19½X14.) Thomas Cole.

(Reed Collection.)
(New York Gallery of Fine Arts.)

43. Dogs Fighting. (20½X16.) George Morland.

(Reed Collection.)
(New York Gallery of Fine Arts.)

44. View on Catskill Creek. (24X16.) Thomas Cole.

(Reed Collection.)
(New York Gallery of Fine Arts.)

45. Landscape. (13X10.) Dutch School.

(Reed Collection.)
(New York Gallery of Fine Arts.)

46. Summer Sunset. (19½X14.) Thomas Cole.

(Reed Collection.)
(New York Gallery of Fine Arts.)

47. Old English Sportsman. (24X19.) George Morland.

(Reed Collection.)
(New York Gallery of Fine Arts.)

48. Murder of the Princes. (44X56.) George W. Flagg.

ENTER TYRRELL.

"Tyr.—The tyrannous and bloody act is done:
The most arch deed of piteous massacre
That ever yet this land was guilty of.
Dighton and Forrest whom I did suborn
To do this piece of ruthless butchery,
Albeit they were flesh'd villains, bloody dogs,
Melting with tenderness and mild compassion,
Wept like two children in their death's sad story.
O thus, quoth Dighton, lay the gentle babes,
Which once, quoth Forrest, girdling one another
Within their alabaster innocent arms;
Their lips were four red roses on a stalk,
Which in their summer beauty, kiss'd each other.
A book of prayers on their pillow lay:
Which once, quoth Forrest, almost changed my mind:
But O, the Devil,—there the villain stopp'd."

(Reed Collection.)

[Pg 9]

(New York Gallery of Fine Arts.)

49. Miniature. (3X2½.) Dutch Enamel. A. B. Durand.

(Reed Collection.)
(New York Gallery of Fine Arts.)

50. Boors Gambling. (10X7.) After Teniers.

(Reed Collection.)
(New York Gallery of Fine Arts.)

51. Wreath of Flowers, encircling Holy Family—Antique. (11X12.) Italian School.

(Reed Collection.)
(New York Gallery of Fine Arts.)

52. The Old Fiddler. (10X8.) After Teniers.

(Reed Collection.)
(New York Gallery of Fine Arts.)

53. Miniature. (3½X2½.) Dutch Enamel. Italian School.

(Reed Collection.)
(New York Gallery of Fine Arts.)

54. A Magdalen. (18X14.) After Correggio.

(Reed Collection.)
(New York Gallery of Fine Arts.)

55. View near Bridgeport, Connecticut. (19X13.) Andrew Richardson.

(Reed Collection.)
(New York Gallery of Fine Arts.)

56. Portrait of Luman Reed, (1785-1836.) (25X30.) A. B. Durand.

Patron of American Art.
Presented by the Artist.
(New York Gallery of Fine Arts.)

57. The Fortune-Teller. (52X42.) William S. Mount.

The figures in this picture are portraits of Mrs. Amelia Longbotham, as fortune-teller, and the young girl,
Edna Bostwick.
Presented by the Artist.
(New York Gallery of Fine Arts.)

58. Landscape. (36X26.) C. P. Cranch.

(New York Gallery of Fine Arts.)

59. Bargaining for a Horse. (30X24.) William S. Mount.

"Seth suspended for a moment the whittling his twig, and there seemed a crisis in the argument—a silent
pause—when a shrill voice from the front gate adjourned the meeting instanter. It was the voice of Aunt
Nabby herself, breathing authority and hospitality:—Joshua, come to dinner, and bring the folks along
with you."—Jack Downing's Jour., N. Y. Gazette, Oct. 28, 1835.
(New York Gallery of Fine Arts.)

60. Portrait of Sir Charles L. Eastlake, Artist, (1793-1865.) (44X56.) Daniel Huntington.

(New York Gallery of Fine Arts.)

[Pg 10]

61. Flora. (17½X22½) Jean Raoux.

Presented by S. M. Chester.
(New York Gallery of Fine Arts.)

62. The Vale and Temple of Segestae, Sicily. (65½X44.) Thomas Cole.

"Midway between Palermo and Segestae, the broad slopes of an ample valley lie before the traveller. In
the depth is a river meandering among fragrant oleanders; on the left the valley is intersected by a range of
distant mountains; on the right is a beautiful bay of the Mediterranean. Across the valley, the mountains
form a green amphitheatre, and high in a remote part is seen the Temple of Segestae."—Notes of the
Artist made on a Tour in Sicily.
Presented by the Artist.
(New York Gallery of Fine Arts.)

63. A Venetian Senator. (25X30.) Cornelius Ver Bryck.

(New York Gallery of Fine Arts.)

64. The Black Plume. (29X36.) Charles C. Ingham.

Presented by the Artist.
(New York Gallery of Fine Arts.)

65. Portrait of Lafayette, (1757-1834.) (25X30.) Charles C. Ingham.

Painted from life in 1825, and is the original head from which was made the full-length portrait for the
State, now in the State Department, Albany.
Presented by the Artist.
(New York Gallery of Fine Arts.)

66. Landscape, Moonlight. (37X25.) Tempesta.

From the collection of Cardinal Fesch.
Presented by Miss Eliza Hicks.
(New York Gallery of Fine Arts.)

67. The Young Gourmand. (11X13.) Frederick W. Philip.

(New York Gallery of Fine Arts.)

68. Portrait of Gevartius. (28X36.) From Van Dyck. John Trumbull.

(New York Gallery of Fine Arts.)

69. Portrait of Rembrandt. (25X33.) From the original. John G. Chapman.

Presented by the Artist.
(New York Gallery of Fine Arts.)

70. Portrait of Pietro Aretino, the Satirist (31X37.) John G. Chapman.

From the original, by Titian, in the Pitti Palace, Florence.
Presented by the Artist.
(New York Gallery of Fine Arts.)

71. The Image-Pedler. (42X33.) Francis W. Edmonds.

Presented by the Artist.
(New York Gallery of Fine Arts.)

72. The Dutch Bible. (22½X18.) Cornelius Ver Bryck.

Presented by Daniel Huntington.

[Pg 11]

[Pg 12]

(New York Gallery of Fine Arts.)

73. Portrait of a Revolutionary Officer (Gen. E. Huntington?) (20X24.) John Trumbull.

(New York Gallery of Fine Arts.)

74. Portrait of Dr. Maurice Swabey. (25X30.) John Trumbull.

An Associate Commissioner with Col. Trumbull at London, 1796.
(New York Gallery of Fine Arts.)

75. Landscape—Composition. "The Old Oak." (48X36.) A. B. Durand.

Presented by the Artist.
(New York Gallery of Fine Arts.)

76. Portrait of Nicholas Fish, (1758-1833.) (25X30.) James H. Shegogue.

From the original by Inman.
Presented by Mrs. Nicholas Fish.
(New York Gallery of Fine Arts.)

77. Portrait of a Lady, (fancy.) (39X59.) George W. Flagg.

Presented by the Artist.
(New York Gallery of Fine Arts.)

78. A Window-Scene. (14X17½.)

(New York Gallery of Fine Arts.)

79. View near Sandy Hill, New York. (20½x13½.) Water-color. William G. Wall.

Presented by Grant Thorburn.
(New York Gallery of Fine Arts.)

80. Portrait of Macready in character as William Tell. (25X30.) Thomas S. Cummings.

From the original by H. Inman.
Presented by the Artist.
(New York Gallery of Fine Arts.)

81. Portrait of Egbert Benson, (1746-1833.) (22X26.) John Wesley Jarvis.

From the original by Stuart.
Presented by the Artist.

82. Portrait of Egbert Benson, (1746-1833.) (25X30.) Gilbert C. Stuart.

First President of the Society, 1805-1815. Painted from life in 1807, the original of No. 81. Presented by
Robert Benson, Jr.

83. Dead Game. (26X32.) Adéle Evrard.

Presented by John D. Clute.

84. Christ stilling the Tempest. (27X34.) F. W. Philip.
85. Landscape, with Figures. (24X20.)
86. Portrait of Rufus Wilmot Griswold, (1815-1857.) (20X24.) Charles L. Elliott.

Bequest of Rufus W. Griswold, 1857.

87. Portrait of Daniel Seymour. (22X27.) Thomas S. Cummings.

Presented by Robert Kelly.

[Pg 13]

88. Mountain Stream in Western Va. (12X14.) William McLeod.
89. Portrait of Christopher Colles, (1738-1821.) (10X12.) John Wesley Jarvis.
90. Portrait of James Kent, (1763-1847.) (25X30.) Samuel F. B. Morse.

President of the Society, 1828-1831.
Presented by John Delafield.

91. The Mammoth Cave. (37X48.) Regis Gignoux.
92. Landscape. (20X15.)
93. Lago Maggiore and the Borromean Islands. (111X147.)

Presented by Lewis M. Rutherfurd.

94. Portrait of Gov. Daniel D. Tompkins, (1774-1823.) (58X90.) John Wesley Jarvis.

Presented by Thomas E. Davis.

95. Portrait of Gen. Joseph Reed, (1741-1785.) (16X20.) J. C. Hagen.

Copy from the original by C. W. Peale.
Presented by the Artist.

96. Portrait of Gilbert C. Stuart, (1755-1828.) (3X2½.) Anson Dickinson.

Miniature on ivory.
Presented by S. W. and V. M. Francis.

97. Portrait of Alexander J. Dallas, (1759-1817.) (23½X29.) John W. Jarvis.

Purchased from the American Museum Collection, 1863.
Presented by William D. Abbatt.

98. Storm at Sea. (32X19½.)
99. The Bay of New York from Castle Garden. (33½X24½.)
100. Portrait of the Artist. 1841. (9X10½.) Jeremiah Nims.

This promising young Artist died at Kingston, Jamaica, W. I., March 6, 1842, aged 24 years and 2
months.
Presented by Mrs. Charles A. Davis.

101. Bacchante and Satyr. (59X44.) John Vanderlyn.

From the original by Annibale Caracci in the Pitti Palace.

102. Portrait of N. P. Willis, (1806-1867.) (28X36.) William A. Wall.

Painted in Italy about 1833.

103. Portrait of Alexander Hamilton, (1757-1804.) (19X22.) Charles Wilson Peale.

Presented by Duncan C. Pell.

104. Portrait of Alexander Hamilton, (1757-1804.) (9X11.) Crayon. James Sharpless.

Presented by Dr. Samuel Akerly, November 12, 1816.

105. Portrait of Samuel L. Mitchell, M.D., (1764-1831.) (7X9.) Crayon. James Sharpless.

Presented by Dr. Samuel Akerly, November 12, 1816.

106. Portrait of John Pintard, (1759-1818.) (25X30.) John Trumbull.

Founder of the Society. Recording Secretary, 1805-1819; Librarian, 1810-1811; Treasurer, 1819-1827.
Painted for the Society, 1817.

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107. Portrait of John Pintard, (1759-1818.) (Miniature.) John Ramage, 1787.

Presented by his grandson, George Hancock Servoss, February 6, 1906.

108. Portrait of Elizabeth (Brasher) Pintard, (1765-1838.) (Miniature.) John Ramage, 1787.

Presented by her grandson, George Hancock Servoss, February 6, 1906.

109-110. Pair of wristlets worn by Mrs. John Pintard, one bearing portrait of John Pintard, and the other a painting
representing "Justice." (Painted on ivory.)

Presented by Henry C. Eno, M.D., February 18, 1909.

111. Portrait of Hernando Cortes. (19X25.)

Copied from the original in the Florence Gallery.
Presented by Mrs. Gouverneur Morris, January 14, 1817.

112. Portrait of Americus Vespucius. (19X25.)

Copied from the original in the Florence Gallery.
Presented by Mrs. Gouverneur Morris, January 14, 1817.

113. Portrait of Christopher Columbus, (1446-1506.) (19X25.)

Copied from the original in the Florence Gallery.
Presented by Mrs. Gouverneur Morris, January 14, 1817.

114. Portrait of Fernando Magalhaens. (19X25.)

Copied from the original in the Florence Gallery.
Presented by Mrs. Gouverneur Morris, January 14, 1817.

115. Portrait of Robert Morris, (1734-1806.) (24X29.) John Wesley Jarvis.

From the original by Stuart.
Presented by Thomas Morris, September 9, 1817.

116. Portrait of John Jones, M.D., (1729-1791.) (3½X3½.) Samuel Folwell.

Miniature, drawn at New York, May 25, 1790.
Presented by David Hosack, M.D., October 7, 1817.

117. Portrait of Lafayette, (1757-1834.) (19½X24.) Oval.

Painted 1791.
Presented by General Ebenezer Stevens, October 7, 1817.

118. Portrait of Gouverneur Morris, (1752-1816.) (28X36.) Ezra Ames.

First Vice President of the Society, 1810-1815, and President, 1816.
Presented by Stephen Van Rensselaer, of Albany, November 11, 1817.

119. Portrait of Chief Justice John Jay, (1745-1829.) (25X30.) Joseph Wright.

Painted 1786.
Presented by John Pintard, November 11, 1817.

120. Portrait of Chief Justice John Jay, (1745-1829.) (40X50.) Oliver Lay.

From the original by Gilbert C. Stuart.
Presented by Miss Elizabeth Clarkson Jay, October 1, 1889.

121. Portrait of John C. Kunze, D.D., (1744-1807.) (25X30.) John Wesley Jarvis.

Copied for the Society from a picture in possession of Mrs. Kunze and presented by his family, July 14,

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